Ira Ratner

No reason to fire up a generator for just one bulb, as said. But if you ever decide to invest in one, you need a QUIET one. The Honda EU1000, or the equivalent Onan, or the equivalent Yamaha. Very quiet, but you would still want to move it away from any mikes. Main point, you want an INVERTER type generator with a DB rating of 57 or below. Just running a small pull light or two and not max load, it's less DBs. These style generators are small and easy to handle (they literally COME with a handle to move them), and you can stick it in your closet. Most important besides the quiet--reliable and built like a rock.

THANKS FOR THE INFO! Now, I remember that Asahi and Pentax were the same animal (correct?), but even with a background in 35mm still work, I don't recall at all an auto/manual switch. Will this switch be something readily viewable in an eBay listing if the seller doesn't describe this? And would this be pretty much standard on anything called Super Takumar? I figure I'm going to want a fixed standard view to do standard scenes, so I'm looking at getting a 28MM like you have, right? Which is like a 55 on a 35mm camera--normal view. And I think I just HAVE to have a long tele, just for the hell of it, lens speed not withstanding, using Tri-X, which means 200mm. I ask because these are the kinds of lenses you can also find as great deals at pawn shops, and I'd like to start looking now.

Also, what about making a film about some stupid kid who chooses film as major? Won't THAT work?

If you're an idiot, you're going to be an idiot regardless of your college major. So as a young kid going to college with a desire and a vision, I recommend that you study what YOU want to study and have a passion for. And don't listen to some shmuck on the internet telling you that American Literature or Film is a "stupid" educational path to follow. (I mean, who wastes their time working on a web site telling you what NOT to do? While they themselves are writing for web sites, 99% of which could be written by monkeys?) So youngsters, you got a whole, hopefully long life in front of you where people are going to tell you what to do and what to be. Follow that advice and you'll be miserable. My best buddy growing up in the whole world...youngest brother of three brothers whose BOTH parents were Holocaust survivors...wanted to be an actor, and he performed in High School and College. But he was ORDAINED to be a doctor like his brothers had also become, by mandate of his parents. That little decision to abandon his passion back then still haunts him, his huge house and nice cars aside. Those are just things you "have." They're not who you "are."

Will, is M42 simply the term used for the standard Pentax screw configuration that's been around forever? I have a background in 35mm SLR still, nothing with film, and I always remember it just being referred to as just a Pentax screw-type mount. Also, is Takumar Pentax's own brand name? (Can't remember-- I was a Mamiya guy back then.) This was what excited me about getting the K-3 (which I haven't received yet)--the fact that I could use standard 35mm screw mount lenses on it. I just KNOW that one day there's going to be some guy on Ebay showing up with a 400mm Spiratone for a buck and a half. Crappy lens, yes--but for a buck and a half, who cares?

They're saying it will take a couple of YEARS to restore: http://news.yahoo.com/s/nm/20080703/film_n...metropolis_dc_1 They had better hurry, because I am NOT a young man. ("Made" for my above post. Not "Maid." Just another senior moment.)

My opinion means nothing because I'm a newbie here, but different woods burn differently. And I'm not a newbie to smoking meats with different woods. Also, what would happen if you used artifical DURAFLAME logs? You have to remember that you're going to be shooting for a while, and tending a fire to the height that you want it ain't gonna be all that easy. Duraflame logs burn easily and consistently and don't SMOKE, which could screw EVERYTHING up. However, once the log(s) is burning, you can throw s handful of some standard barbecue smoking chips (available at any supermarket), to give you a little smoke and a crackling sound. In fact, you can throw any dry tinder on top of the log(s). Main point is, the Duraflame will give you like 2 hours of a great burn without headaches. The color of the burn though might not be that perfect, so this is just a suggestion.

I had no idea about the controversy that surrounded this and its re-releases. Like, Lang lived a really long time, correct, but actually hated the film? Yet there's still a debate on what speed he actually shot it at, and what speed the theaters played at it. Seems that this should all be common knowledge by now. And the fact that they found original scores seems to be a debatable point, because the musicians were instructed to play it as written or speed it up based on how it was presented in the theaters. In other words, that the time signatures found on those printed scores from the era often didn't really mean anything--except for MAYBE the way the director intended it. Which I guess means everything, actually. Metropolis always fascinated me, and I admit, the SOUND version. But now that I'm learning the history, I HAVE to learn more and pay closer attention to it. One of the disputed claims on Wikipedia is that it cost 7 million whatever marks they used back then, the equivalent of $200 million U.S. in 2005. I find that hard to believe, unless the model-maker maid a FORTUNE.

I thought this was pretty intense--having just started learning about silent film classics and seeing this. (Read it all if you have the time, but scroll down to the bold subhead "Rediscovery." http://en.wikipedia.org/wiki/Metropolis_%28film%29 Controversy, arguments, conjecture, and missing footage has plagued this film forever, but only LAST WEEK, they think they found a complete print in Argentina.

THANKS, ALL!!! GREAT INFORMATION!!! (And yeah, Saul--I was putting you on about the kids' names. They're Jamie and Timothy, but Hitler and Stalin drives home a funny point...or so I thought.) About 2 years ago, I built an old-fashioned teardrop travel trailer from the ground up, and one guy on the teardrop site I visited did it all...he asked all the questions he wanted to ask and got all the information he needed...from just his ONE thread, which lasted more than a year. Although others (like myself), posted DOZENS of threads. That one thread was invaluable, and provided a great quick link for veterans on the site to steer newsomers too. So for my film work here, I'm going to try and keep EVERYTHING in this one thread. So if you veterans can hang in there with me for the ride on this, I would REALLY appreciate it. It's good for others, but more important, since the universe revolves around me and me alone, this makes it easy for me to find your info and advice. And again--I was just joking, Saul. Galileo proved ions ago that the universe DOESN'T revolve around me, although I still have my doubts. Now on to the technical issues: ------------------------------------------------------------------------------------------------------------------------------- 1) THANKS FOR THE FLOOR IDEA! (You're right--duh. Not complicated at all, and cheap.) 2) For filters, I'm of course thinking the Cokin system, because of the ability to use different diameter step rings for use on different lenses. (I even have a bunch of square filters from my old 35mm work from way back when, although I don't know if that 4 by 4 size will work for what I need now.) So does anyone know off the top of their head if for the K-3's zoom with 77mm diameter, if I need the P series or Z series? My daytime job's server BLOCKS me from this site (those bastards), and I did a little research on this today, but I just can't remember right now...I just got home from work...and I wanted to post here first. I DID come across their matte box which blew me away as simply perfect, but when I saw the PRICE, perfection will have to wait. (Are these guys nuts? The cheapest I saw for it was $459.) And no--I don't know exactly how I'm going to filter anything yet, because that will be based on the other factors. And again Vincent, even using pantyhose or other, I think the Cokin gives you a good base to connect it to, but now that I think about it--I'll see my filter effects directly in the K-3's viewfinder before hitting the trigger, right? Like with an SLR? 3) I don't believe the Tri-X outdoors will be an issue as far as exposure, even shooting at 16fps. Remember that we're in a canopy enclosed on 3 sides. Plus, I can shoot at dusk, which in South Florida lasts a long time this time of year--about 2 hours. HOWEVER, the richer look of Plus-X, and the desire to have a classy look, may very well convince me to go the Plus-X route--AND WRITE MY MATERIAL/SCRIPT BASED ON THIS FACT. The thing is, for this kind of enclosed one-set production, is Plus-X simply the wrong film choice to make? As added fodder, I would still shoot at 16fps with Plus-X, but direct the talent to move and speak a little more slowly because of this. See what I'm getting at? Even if it's not comedic Keystone Kops (Cops) and it's DRAMA instead (it won't be), it still needs that sped up look, but not VERY sped up. 4) I'm on the hunt for an accessory iris solution via in front of the camera lens and not the lighting, to be able to open up from a small circle and close to one when desired. There's GOTTA be an easy way to build or find something cheap for this. Might be able to do it in post in iMovie or other program, but that ain't gonna have the same look. 5) I started doing costume searches, and cap and gown for the professor is a no-brainer to find and CHEAP. So for B&W Tri-X or Plus-X reversal--just go black? Or a different color? 6) I posted a separate thread about recently found lost footage (maybe) to Metropolis. That's it for now, boys and girls! Thanks for listening!!!

Hey, guys! Ira here: 51-year-old fart looking to take up a new hobby, because since I have so much money on my hands, I have to spend it SOMEWHERE. (HAH! The wife is going to KILL me when I start getting into this big time.) I am nowhere near the level of 99.9999% of you...I'm not going to be the next Speilberg... but I have a background in still film and graphic arts and I'm usually not a complete idiot. I just want to have some fun. (I've already read a bunch of threads here and learned a ton, but those threads posed a million other questions for me which I'll ask later.) I'm waiting for my K-3 (R16) to arrive, but in the meantime, I'm brainstorming, so here's my plan: -------------------------------------------------------------------------- A) Since I work for a living and I'm married with kids (the kids' names are Hitler and Stalin), I ain't gonna have much time to be prancing around South Florida filming hot girls on South Beach. So I'm looking to shoot in my backyard. B) Toward this end, I decided to do a series of shorts in the comedic silent-film genre, but of an adult nature, since I like that juxtaposition of old-fashioned stuffiness and underlying naughtiness. (I published an adult comedy magazine recently, a one-off with a second issue coming, so I have a pretty good feel for this kind of material.) These will all be one-set shorts, allowing me to set it up and break it down for use as needed, and allowing me to produce a series of similar shorts from that same set. Of course, silent film eliminates a lot of the headache of sound sync. C) The actual set is a huge EZ-Up canopy, with muslin backdrop and appropriate sidewalls. The canopy can also easily accommodate lights. D) My first series will be of an old staid professor standing at a podium, who opens the scene interacting first person with the audience. (I don't have a working title for the series yet.) My idea for a second series takes place in a restaurant--and again, just one set, and one main character to develop. Taking this approach will also allow me to shoot segments of several shorts during the same shoot. -------------------------------------------------------------------------- And now, the questions: 1) I plan on shooting in that faster old-style motion, so do you think 16fps is enough to speed it up correctly, or should I go to 12fps? Also, I think I'll be using Tri-X, because I want that grain (I think). But any ideas on how to REALLY get that old time look captured on film? For example, I don't think I need or want sepia, but is there another filter you can think of which would add something? Like, something that hazes/blurs it a bit? Vaseline on a filter? I don't want to just shoot it soft. (I'll be using the K3's standard Meteor zoom, because I was actually LYING about having all that money.) 2) I'm going to shoot my raw film footage, convert to digital, and edit in the Mac. iMovie will do what I need for this, right? The ability to just cut and paste video portions, and cut and paste separate audio tracks? (Ragtime midi files that I rework in GarageBand.) l have a background in Photoshop and other graphics programs, so I figured I can create the title/dialogue frames digitally and just drop them into iMovie. Does this make sense? 3) Does it pay to buy short ends (is that the right term) for this? 4) Like most of the poorer backyards in my neighborhood, mine is grass. Is there a cheap and easy do-it-yourself fix to make a hard floor that I can easily roll-up or fold for storage? 5) One of the pitfalls of people attempting this genre is makeup and costume--the films never look like they came from the time period at all. I know you can't get it exactly right, but damn, I'm gonna try to get it as close as possible. So any ideas on makeup/costume techniques for the silent 20s? The professor is going to be pretty easy--cap and gown, full beard, horn-rimmed glasses--but what about the hot flapper who walks in and shows him her boobs? Simply heavy pancake, long lashes, and like BLACK lipstick and liner? My project for the next few weeks is to study the silent genre. (God bless You Tube--plus it's all legal. All of those actors and producers are DEAD.) Main thing is, since I'll be working in a more or less controlled environment...in this one particular genre...I'll be able to shoot the footage to eventually get it the way i want. Well, I guess that's it for now. And thanks for listening. Perhaps some of these are stupid questions, because I guess the first thing I should do before doing any actual shooting for edit is to do exposure and makeup tests with the camera anyway. However, maybe you have ideas which can make that testing more productive, and save me on film. This is going to be really FUN! Or tragically heartbreaking.